DISSERTATION Year: 2019-20 Batch No. 17 CONTEMPLATIVE SPACES IN BUILT ENVIRONMENT Undertaken by: Aayushi Rajani Enrollment No.: 15ETAAARF4OP004 V Year B.Arch A Prof. GIRIRAJ NAGAR Prof. ARCHANA SINGH GUIDE COORDINATOR Aayojan School of Architecture IS|-4, RICO Institutional Block, Sitapura, Jaipur-302022APPROVAL The study titled “Contemplative Spaces in Built Environment” is hereby approved as an ofiginal work of Aayushi Rajani enrolment no. 15ETAAARFA0P004 on the approved subject caried out and presented in manner satisfactory to warrant its acceptance as per the standard laid down by the university. This report has been submitted in the partial fulfillment for the award of Bachelor of Architecture degree from Rajasthan Technical University, Kota. It is to be understood that the undersigned does not necessarily endorse or approve any statement made, any opinion expressed or conclusion drawn therein, but approves the study only for the purpose it has been submitted. December 2019 Jaipur Prof. K.S. MAHAJANI EXTERNAL EXAMINER 1 PRINCIPAL Prof. ARCHANA SINGH EXTERNAL EXAMINER 2 COORDINATORDECLARATION |, Aayushi Rajani, here by solemnly declare that the research work undertaken by me, titled ‘Contemplative Spaces in Built Environment.’ is my original work and wherever | have incorporated any information in the form of photographs, text, data, maps, drawings, etc. from different sources, has been duly acknowledged in my report, This dissertation has been completed under the supervision of the guide allotted to me by the school. Further, whenever and wherever my work shall be presented or published it wil be jointly authored with my guide. Aayushi Rajani V Year B.Arch A Aayojan School of Architecture, Jaipur CERTIFICATE This is to certify that the research titled, Contemplative Spaces in Built Environment is a bonafide work by Aayushi Rajani of Aayojan School of Architecture, Jaipur. This research work has been completed under my guidance and supervision in a satisfactory manner. This report has been submitted in partial fulfilment of award of BACHELOR OF ARCHITECTURE degree from Rajasthan Technical University, Kota. This research work fulfils the requirements relating to the nature and standard laid down by the Rajasthan Technical University. Prof. Giriraj Nagar Guide Aayojan School of Architecture,JaipurACKNOWLEDGEMENT it would not have been possible without the support of the institution to undertake this dissertation research and for which | wish to thank Principal & Director, Prof. K. S. Mahajani for providing a conducive college environment and proficient faculty members. also extend my thanks to Dean Academics, Prof. N.S. Rathore for his advice and time, throughout the course of my undergraduate education. | would like to express my thanks to, Dissertation & Thesis Seminar Co-ordinator, Prof. Archana S. Rathore, for giving me @ chance to take up this thesis and dissertation projects, and for her continued guidance since the inception. My sincere thanks to all the dissertation guides and other faculty members, for their time, valuable and insightful crits during the reviews and discussions. | would also like to express my gratitude to my dissertation guide Prof. Girraj Nagar, for his valuable advice, encouragement and helpful criticisms throughout the course of this work. His recommendations and instructions have enabled me to assemble and finish the dissertation effectively And special thanks to my friends and family for all kind of support and help during the course by giving encouragement and motivation. Aayushi Rajani V Year B.Arch. A Aayojan School of Architecture, Jaipur ittABSTRACT Contemplative Spaces in Built Environment Aayushi Rajani Spirituality is a sense of connection to something bigger than ourselves, and typically involves a search for meaning in fife. One needs a certain time for ourselves to realize and analyze the inner most consciousness. Humans have now got a tendency to get attracted to what is outside them and not what lies within. Though peace can be found anywhere and everywhere but, because of the hush and bush around, people are getting away from the real spirituality i.e. ‘connection with your inner self.’ Therefore, because of the imbalance that is being created, has to change in terms of human well-being giving an opportunity to the vast study of architecture to put forward its intelligence in creating spaces that will attract humans for their own benefits and that it will keep them at a distance from the commercial world. This research studies the qualitative parameters of spiritual spaces such as form, geometry, philosophy and various elements which helps in creating the experience soul stirring for the user. The inter relation between form, geometry and philosophy, faith according to different religion of the spiritual spaces has been studied. The cases which were required to direct this research are: Matrimangir, Lotus Temple, Pyramid Valley Intemational, Global Vipassana Pagoda, Dhamma Pushkar and Osho Dham. The research also focuses on the experience of human beings in such spaces. The method used in this research is based on literature review for collecting data and observation to identify and analyze the qualities of various spiritual spaces. By comparing the result of identified cases the final result would be obtained. The study would conclude that the spatial characteristics of a built space plays a major role in creating a spiritual environment and a posi /e experience for the user. Various design elements would be recommended that helps in enhancing the spiritual sense of a place. ivCONTENTS Approval i Declaration i Certificate ii Acknowledgement ii Abstract Vv Contents vevi List of illustrations vi-xi List of tables xii CHAPTER 1: INTRODUCTION 1-5 1.1 Background of the study 1.2. Criteria of selection 13 Research Questions 1.4 Hypothesis 1.5 Aim 1.6 Objectives 17 Scope 18 Methodology CHAPTER 2: CONTEMPLATIVE SPACES AND ELEMENTS 6-14 2.1 Contemplation 2.2 Contemplative Spaces 2.2.1 Types of Contemplative Spaces 2.2.2 Examples 2.3. Attributes of a Spiritual SpaceCHAPTER 3: SPIRITUAL QUALITIES OF IDENTIFIED CASES 15-39 3.1 BioGeometry 3.2 Case Studies - Form and Geometry 3.2.1 Matrimandir, Auroville 3.2.2 Lotus Temple, Delhi 3.2.3 Pyramid Valley, Bangalore 3.2.4 Global Vipassana Pagoda, Mumbai 3.3 Case Studies - Meditation Centers 3.3.1 Osho Dham, Delhi 3.3.2 Dhamma Pushkar Vipassana Center, Pushkar CHAPTER 4: THE INTERPRETATION 4.1 Analysis 40-46 4.2 Inferences ‘CHAPTER 5: CONCLUSIONS AND RECOMMENDATIONS 47-50 5.1 Conclusions 5.2 Recommendations BIBLIOGRAPHY xiii viLIST OF ILLUSTRATION Fig. no. Mlustration Tile Pg. No. Source Chapter 1: Introduction 11 [Spintoaity 02 | Author 7.2__| Church of the Light = Tadao OZ __| Ritps:/vwnw archdallycom/I01260 ad classics Ando church-of the light-tadao-ando 1.3 | Layersof Contemplative 03 _| Author Environment. Chapter 2: Contemplative Spaces and Elements 21_| Attibutesof Meaitational O7 _| fitter/reuroarchitectura blogspot com/2016/05/ Practices. ontemplative-spaces-towardsnew-design.html 22__| MeditationHalin North 7 _| Ritps://venw.dezeen.com/tag/meditation spaces] Eastem China by Hil Architects 23 | Facilitating hespintuaiituass, | 08 | hips:/fwww dezeen com/2013/07/34/st-moritz- creatinga focus point, ‘church ay oli pawn" a | Theatric mode of 08 | Author Contemplative Spaces. 25__| Closing off a spintualpiace G _ | https: [farch kalewven be/englsh/nens/newsarch) from the prosaic world. ve/campus-roosenberg 26 | Sanctuarymode of 0 _| Author Contemplative Spaces 27 | Architecturalobjectfocussed | 10 | htpsi//www britannica.com/topic/areat Mosque of Mecca 28 | Contempiativemode of 10 | Author contemplative spaces. 29 | Naturallight through funnek 10 | https://owanw archdaily.com/B49887a0-classies- from south facade. ronchamp-le-corbusier 2.10__| Plan showing the funnes for T0_| fttos://wwnw.archdaly.com/8498870d-cassics- naturallight. rronchamp-le-corbusier 211 _| Church elevationalview. T)__| httas://owarw.architonic.com/en/project/mario botta-church-son-giovonni-battista/5103575, 212 | Planshowing use of geometry | _11__| https://www.architonic.com/en/project/mario- botta-church-san-giovonni-battista/5103575 2.13 _ | The walls were specificaly T)__| httos://wwnw.archdaily.com/608268/windhover dedgred asa backdoplor contemplative center-oilin-darin-design the paintings. 2.14 |The landscape enhancesthe | 11 _ | hitps://www.orchdaily com/608268/windhover Zontaniplative envionment contemplative-center-oidlin-darin-design Z15_| Dhamma Gin, gatput 12 | hitp://oewnn giridhamma.ora/ 216 | Bagan Pagoda, Myanmar 12 _| https: [fin pinterest. com /pIn/14496030034138895 Vii217 _| LotusTemple, New Deri 12 _| hittos://en.wikipedia.ora/wiki/Lotus_Termple 2.18 | Waking Path of Philosophy. T2__| httas:7/wann Insidekyoto.com/walking-thepath- Kyoto of philosophy 2.19 _| ArtofLiving, Bangalore 13__| hitas//waw.artoflving.org/art Iving- international-center bongalore-O 2.20 _| TajMahat Agra 73 __| https://wwwbntannica.com/topic/Tay-Mabol 221_| Pantheon, Rome 13 __| hitps://en wikipedia org/wiki/Pantheon, Rome 2.22 | Naturallightin the space 13 _| hitas://in-pinterest.com/pin/ 3202482 2348274038 2h 2.23 _| Shwedagon Pagoda 13__| httos://en.wikipedia.ora/wiki/Shwedagon_ Pagoda 224__| HinduTemple 13__| hetps:/ftemple dinamalar com/en/new en php?id 908 2.25 _| Sacred Symbol 14 __| httas://wmw auroville-org/contents/547 2.26 | Presence of Pondin Osho T4__| httas://iwmwosho.com/ visit faclties- Center, Pune services/deily meditations 227 | Presence of waterin Pyramid | 14 __ | Rttps://pyramidvalley.ora7 Valley 228 | Sacred Geomeny 14__| hitos://akybaxcreative com/downloods/sacred geometry-vectorsetvol6-2/_ Chapter 3: Spiritual qualifies of Identified Cases Zl] Maley Buddha Pyramid, 76] Rttps:/Tpvramidvalley.org/ Bengaluru 32_| EtSutanHassanmosque, T6_| Retpsi/ en.wikipedia org/wiki/Mosque- Cairo Madrassa_of Sultan Hassan Za | MasterPlan of Auovile [The 19 __| fttps://wanw aurovilleorg/contents/252 galaxy concept of the city) Za__| Mother'ssymbol- paying 19 | Rips: orn surovie org/contents7252 homage to a lotus in ful bloom 35__| The Golden Sphere T9__| Rttps:/ on aurovile org/contents252 36 | inner Chamber 20 | RRtpS:/ Torn auroule ora] ontents] 252 37 __| Profolypemodelshowing 20] Hitps:/ mw aurovile org/contents/252 Inner Chamber 38 | Underconsiructionimage of | 20 _ | https://wmwaurovilleorg/contents/252, pillars Z9__| Goldensectionand ZI__| Retps/ www aurovlleorg/contents/252 proportions of great pyramid Z10__| Two tangle of same ZI__| Rites: Jann aurovle og/ontents/252 proportions S| inner Chamberatone-thirdof| 21 _| Rttps://www.aurovileorg/contents/252 itsheight S12 _ | The Park of Unity- Plan ZI_| Rttpss/www.aurowlle org/contents/252 313 _| VerlicalSection 21__| Retps://ownw.aurole ora/contents/252 314 _| Level] Spiralstaircase 22__| Rttpsi//owww aurowile org/contents/252 viiiZ15_| level2- Ramp 22__| https: //waw aurovlle orgfcontents] 252 3.16 _| Entrance of Meditation Cell 2E__| https: //wwnw auroville org/contents/252 3.17_[ Openairtheatre 2_ | Rttpss//www.auroulleorg/contents/252 318 | Aerial View of Lotus Temple 23_ | Retps://wwww archdally.com/158522/ad-classies- Jotus-temple-faribore-sahta 319_| Front View 23 | Rttps://wwwarchdally.com/158522/ad-cassies- lotus-temple-fariborz-sahta 320_| Top View ZE__ | https://aww-archdaily.com/1S8522/ad-Tassies Jotus-temple-fariborz-sahta 321 | MosterPian 2a___[ Rttps://wwewarchdsly.com/158522/ad-ass= lotus-temple-fariborz-sahta 3.22 | information Center 24__| https://www.archdaily com/158522/ad classics: Jotus-temple-faribore-sahta 323_| Connecting bridge over Ze__[ hetps://www-archdally.com/158522/ad-classies- pond. lotus-temple-fariborz-sahba 324 | Section 25 _| httns://www.archdaily com/158522/ad-cassics- Jotus-temple-fariborz-sahta 325 _| Panof temple B5__[ https: //www-archdally.com/158522ad-classies- lotus-temple-fariborz-sahba 326 _| InteriorDome & Ribs 25__[ https://wwwarchdsly.com/158522/ad-cassics- lotus-temple-fariborz-sahta 327 _| Seafinginciculorpaifem 26__| https: //www-archdaily.com/158522/ad-classies- Jotus-temple-faribore-sahba 328 _| Stealand giassroof skyight 25__[ https://wwewarchdsily.com/158522/ad-Tassies lotus-temple-fariborz-sahta 3m9_| MasterPian D7 _[ http://pyramidvalley ore/ealiery7 3.30 | Viewor the Pyramid Valey 27 _| hitpe/Tovremidvalley orgealey7 331 __ | Pagoda Cottages 27_| Beep: /pwamidvalley.ore/ealien7 332 _| Conference Hal 2B__| http://pyramidvalley.ore/ealery/ 333 | View 26_| tte://pwamidvalley ore/ealery7 334 _| Drawingsofthe main pyramid | __28 | http://pyramidvalley.ore/ealien7 building 335_| King’sChamber 2 | hetp:TTpwramidvaley ora/ealen 336_| Viewor the Pagoda 30 [rite 7Fowen globalpagoda oral 3.37 _| Sectionof the Pagoda 30_| http://www globalpagoda.ore/ 3.38 _| Entrance of Pagoda 31 _| http://wwarglobalpagoda.org/ 3.39 _| interior View of Pagoda for BT _| http: /wwwarglobalpagoda.ore/ Meditational Practice 340 | Google Mapimageshowing | 33 | eshoworid.com location of Osho Dham 347_| Meditation Hall 3S | eshoworld.com 3.42_| Entrance of he Center 33__| oshoworld.com 343_| Conceptualsketch oF 34_| oshoworld.com planning 34 | Landscape Bi__[ eshoworic.com ix345_| MasterPian showingzoning 34 _| Author and circulation 3:48 | Organic Roof form ‘35__ | eshoworld.com 3.47_| Meditation HallView 35_| oshoworid.com 348 | View or the Kitchen and 35 _| oshoworid.com dining area 349_| Poth towardsMeditationHal | 35 _ | oshoworld.com 3.50 _| Views of OtherSpaces 36 | eshoworidcom 351 _| locationMap a7 _| Author 3.52 | Pagodator Mediation 7 | Author 353 _| Entrance of ihe center a7 [Author 354 _| SiteZoning 37 __| Author 355_| Sile Circulation or Male and 3 [Author Female Meditators 3.56 | Conceptualsection of the 3B | Author pagoda complex 3.57_| Entrance of Pagoda complex | __36__| Author 3.58__| Pathway towards Pagoda 36__| Author Complex Chapter 5: Conclusion and Recommendations SI |Symmeticaipathwayleading | 48 _| hitp//artofivingsbiog.com fo the main building 52 Pathway surounded by Z_| Ritpss/Tonwew-osho com [visit facies: waleibodic services/daly-meditations 53 | Openairtheatrefor public 9 _| Rttpi/Tartofivingsbiog.com gathering in Art of Living Bongalore Sa | Common gathering space for | 49 _| https: /www.osho.com/visifaciities smal activities in Osho services/daily meditations Intemational Pune S5__| Naturallight trom aboveina | 49 __| hitps//ideasted con/galieny 2 beautiful temple- Boha'iTemplein South madeoflight/ America 56_| Naturallight from glass Z_| Ritps/[onwew dezeen cor/2017705/ 10/arch- foediiesIroimeditation studio-conerete-buddhist-shrine-subterranean- igacein cri Lunderground-grassy-mound-hebei-china/ ‘5:7 __| Budatha Shrine in Osho 30 | Rttps:/Twww-osho.com/visit/feclities- Intemational. Pune services/deily-meditations| 5.8 _| Shrine of Lord Shivainisha 30 | Rttps:/Jisha.sadhguru org/us/en/center/isha- Foundation vyoga-center-coimbatore59 | Dome, nine-sidedspacewin | 50 _ | https://wwwdezeen.com/2017/05/ 10/arch- nlnessntrancies-Baba'? studio-concrete-buddhist-shrine-subterranean- Tairieta's SS AFORED ‘underground-grassy-mound-hebei-china/ 5.10_| Boha'iTemplein South ‘5O__| fttpsi//wwwdezeen.com/2017/05/10/arch- America studio-concrete-buddhist-shrine-subterranean- ‘underground:grassy-mound-hebei-china/_ xiLIST OF TABLES Table Table Title Pg. No. Source no. Chapter 3: Spiritual Qualities of Identified Cases Bl _ | Experimentresulls 17 [Author Chapter 4: The Interpretation Z| Anaksisandinference 7-43__| Author 42 | Anakaisandinference %aa5_[ Author xiiCHAPTER 1 Introduction1.1 Background of the Study Spirituality derived from the word ‘spirit’ is a broad concept with room for many perspectives. In general it includes a sense of connection to something bigger than ourselves, and typically involves a search for meaning in life. It may be described as an experience of being sacred or transcendent or simply a deep sense of aliveness. The individual description of spirituality may change throughout one's life, become accustomed to one’s own experiences. One needs a certain time for ourselves to realise and analyze their inner most consciousness. It is only at such instances that one realizes the importance of self healing and self awakening. In the new generation that we all are a part of, has oulgrown the important of sustaining what was given to us. Humans have now got a tendency to get attracted to what is outside them and not what lies within. ure 1.1 Spirituality To fill this void that has created a vast change in the human race, spiritual spaces are a need of the hour. Though peace can be found anywhere and everywhere but, because of the hush and bush around us, people are getting away from the real spirituality i.e. ‘connection with your inner self." Therefore, because of the imbalance that is being created has to change in terms of human well-being giving an opportunity to the vast study of architecture to put forward its intelligence in creating spaces that will attract humans for their own ben- efits and that it will keep them at a distance from the commercial world Architecture is a phenomenon that de- fines the quality of the built environment whilst accommodating various func- fions. Architecture is not simply the de. sign of buildings, that are mere physical enclosures. On the contrary, it is an ex- pression of thoughts, preferences, beliefs and emotions in built form, symbolically communicating with its users. Spirituality is aimed at all cultures and people of all communities are approached to em. bark on that journey. Spiritual Architecture therefore serves the wider community in that all cultures come together at one place to conduct spiritual practices. Architecture relates to the spirit of a place - an environment Figure 1.2 Church of the Light - Tadao Anco where man engages for his daily activ- ities. Such a place can be defined by cosmic, spiritual and natural qualities. Providing Open Slits in the wall and allowing nat- Ural ight inside creates a sense on spiritual envi- ronment in the Church, "Conernplalive Spacer in Bui Environment nnn EET EyIntroduction Meditation is a means by which spit ty can be attained and people can real- ize their inner self. Thus, Spirituality and Architecture are in- terlinked where different layers lead to the creation of a ‘Contemplative Environment", 1.2 Criteria of Selection Contemplative space creates an envi ronment for the user where meditation becomes easier. Contemplation archi- tecture involves built environment that serve as a space for direct and purpose- ful meditation. Figure 1.3 Layers of Contemplative Environment In the case of Vipassana Centers, the technique of meditation requires the users to meditate in closed spaces. The quality of built environment will have a major role for such centers. Therefore, a detailed study of form, geometry, shape and volume of a space that is capable of making an atmosphere for contemplation is required. To understand the nature of built and unbuilt spaces, a thorough comparative study of various meditation centers is needed. 1.3 Research Questions 01 Why mostly open spaces are preferred for meditation? 02 Whats spiritual architecture and what are its features? 03 How does architecture evokes a sense of contemplation? 04 What are contemplative spaces and the quaities that describe such spaces? 05 How nature awakens a meditative environment? 06 Can environment influences the meditative practices? 07. Whats the role of geometry and form in spiritual environment? 08 How will the elements of architecture be favourable for spiritual practices? 09 Why meditating in nature is easier? 10 Does scale and proportion of structure matter in spiritual spaces? "CORRERRBIGNIVE SBAEEE TA BOT EARRRR SEE TEYIntroduction 1.4 Hypothesis Mindfulness depends upon the spatial characteristics of a place regardless of it being built or unbuilt. 1.5 Aim Analyzing the qualities of architecture that contributes in making of the spiritual en- vironment and makes the experience of contemplation soul string for the users. 1.6 Objectives 01. To study the spiritual qualities of Built Environment. 02 To compare the built environment of various meditation centers. 03. To understand and study the qualitative parameters form, geometry, philosophy, elements) of spiritual spaces. 04 To identify and conclude the impact of these spaces on user. 1.7 Scope and Limitation Scope The scope of this research would include understanding the spiritual aspects of ar- chitecture in terms of meditation centers. Research will include the study of geometry, form and elements of spaces that en- hances the meditative environment. It will also focus on the comparative analysis of various meditation centers. Limitation A study of the built environment shall be undertaken which shall include only the spiritual aspect, the qualitative parameters and not the technical evaluation of the built form. "CORRERRBINIVE SBAESE TA BUT ERRORS TYIntroduction 1.8 Research Methodology Formulating Research Questions & Objectives. Understanding Scope of Study and setting Limitations ond. DATA IDENTIFICATION fo understand and sludy the Quallfalive Param: re ereee tee, Seated ucmnes. of Bs fers of Spiel Spaces and thelr impact on ser, PRIMARY AND SECONDARY SOURCES ‘SECONDARY SOURCES Articles and Research Papers Book - Biogeometry - Back fo a Future for Mankind by Ar. Ibrahim Karim Book - Transcending Architecture by Ar. Julfo Bermudex Afieles and Research papers Matrimandir, Auroville Lotus Temple, New Delhi Matreye Buddha Pyramid, Bangolore Identincation and Collection yamma Pushkar, Pushkar Pata identification ond CoMeCH OR amu Osho Dham, New Delhi ANALYSIS Formulating framework for data analysis CONCLUSION AND RECOMMENDATIONS. "CORTERRBIANIVE SPUESE TA BOT ERRORS SE TSCHAPTER 2 Conternplative Spaces and ElernentsContemplative Spaces and Elements 2.1 Contemplation The act or state of contemplating, Thoughtful observation or study. Meditation on spiritual matters, especially as a form of devotion. Deep reflective thought. The word contemplate derives from Latin, meaning “to observe, especially in a space (temple) marked off for observation". With the word space integrated into the actual origin of the word, inherently a concem for the relation between the designed space and the act of contemplating arises. The dictionary explains con- templation equals meditation on spiritual matters, but contemplation can't be con- sidered to be an equivalent of meditation. Meditation is focussed on something or someone specific: a subject. Contemplation on the other hand is a relation between two equal subjects. The hu- man subject tries to open itself towards the other subject (often God) by just being in its presence. In modem society, the definition of contemplation is often used in a non-religious context. itis refered to as a mode of profound self-reflection, the de- votion is not necessarily addressed to a super mundane power, but rather towards the essence of the subject’s own spirit. In this study, only the religious manifestations are considered. 2.2 Contemplative Spaces Spaces designed for the act of Contemplation. The aim of such spaces is to provide an environment where people can easily achieve the state of contemplation. Various design elements are used which en- hances the environment and the experience of the visitors. Contemplative spaces can be anywhere - in a hospital for patients to heal, in a school for students to learn or in an office for employees to work. But when a divine or areligious value is added to a contemplative space, it becomes a spiritual space. Thus, every Spiritual Space is a contemplative space but every Contemplative Space is not spiritual in nature. Figure 2.1 Attributes of Mediational Practices Figure 2.2 Meditation Hall in North Eastem China by Hil architects, ‘Contemplative Spacer in Bull Environment nnn EET EyContemplative Spaces and Elements 2.2.1 Types of Contemplative Spaces Itis undisputed that physical design affects the state of mind and social interaction. ‘As Bermudez writes, architecture has the power of “moving us from the ordinary to the extraordinary, from the profane to the sacred.” The physical design responsible for such movement can be a range of contexts, from sacred spaces such as religious buildings, to calming gardens, to spaces of refuge in vibrant urban centres. There are three significantly different ways of conceiving of the relations between built forms and the act of contemplation. 1, Theatric Mode It involves architectural forms that provide the stage-setting or backdrop for theat- rical spiritual activities. Here, the built forms themselves are mostly not the objects of the ritual. In these cases, it would be more accurate to say that people experience the ritual performances that the architecture facilitates rather than experiencing the architecture itself. Ar. John Pawson’s St. Moritz Church,2013 The interior of the Church is in minimalis- tic style: + Use of translucent white stone on win- dows and glass for diffused sunlight. + The interior is pure white contrasting with dark stained wooden furniture and Portuguese limestone for flooring is used. + At night the illumination comes from. LED lights concealed in the choir apse, at the base of columns in the nave and jn rings round the cupola Figure 2.3 Facilitating the spiitual uals, creating domes overhead. nee pe This architectural piece is a good exam- \ ple of theatric mode. \eTN/ With its clear focus point on the altar and \ Y the spectacle of the mass, the build- WE ing has a clear facilitating theatrical | function, giving meaning and spiritual- ity through its scale and impressive but \ % I modest architecture, that doesn't form Bie ae ‘an object of devotion on itself. Figure 2.4 Theatric mode of Contemplative Spaces. | CRRSTABIGHVS” SPACE In BO ERVTOAMTSHE NEEContemplative Spaces and Elements 2. Sanctuary Mode This type entails architectural forms that provide boundaries between the general environment and something more special, creating a “sacred space" in which an experience of contemplation usually tokes place. Ar. Van der Laan’s Rosenberg Abbey, 1975 The abbey was originally built for twelve nuns and twenty-five guests. The complex was designed for contemplation, stillness or even intense encounter; it transcends the idea of functionality and can be used in various ways. Figure 2.5 Closing off a spiritual place from the prosaic world. The Christian abbey or monastery is a clear example of a building in sanctuary mode. ge Pee Most monasteries share their introvert ty- pology, closing the inner spiritual environ- a ment off from the outside world, thereby zs * x a cteating a contemplative atmosphere in we its heart; the courtyard. In some orders, Res traditionally the monks and nuns inhabi = ing the monasteries lived their lives com: i. ) ‘ | ™~ pletely between the walls of the domain, having no contact at allwith the prosaic figywe 2.6 sanctuary mode of Contemplative world. Spaces 3. Contemplation Mode Third mode of conceiving the relationship between architecture and the contem- plative experience was that of architectural contemplation. This involves built con- figurations that serve as the actual object of direct and purposeful, meditative at- tention. This is when architecture not only facilitates a contemplative experience, but is also crucial in instigating it.Hajj in Mecca Here the pilgrimage conduct a circular, counter-clockwise procession around the Kaaba. Kaaba [Ka'bah), a cube-shaped struc- ture draped in black silk, is the most sa- ‘ay ced shrine of Isiam and the chief goal of i ey the pilgrimage. H Figure 2.7 Architectural object focussed The most famous example of the con- templative mode is the Hajj in Mecca \ J where the architectural elements are not just helpful but instead are absolutely 7 crucial in instigating the subsequent reli — CO) — gious experience. The Temples in Cambodia like Angkor / \ Wat and Borobudur are also prime ©x- Faye 2.8 Contemplative mode of contempla- amples of the contemplative mode. tive spaces. 2.2.2 Examples - Spiritual Architectural Devices Saat Figure 2.9 Natural ight through funnels from Figure 2.10 Plan showing the funnels for natural south facade. light. Chappelle Notre-Dame-du-Haut, France - Le Corbusier (1953) The architectural devices Le Corbusier implemented in the design primarily include the south facade wall in the way in which natural light enters the interior space. The varying treatment of the glazing in form, seen best in plan, in turn effect the ar- chitecture as it funnels the light into the space and affects the individuals using the space.Contems boned a Figure 2.11 Church elevational view Figure 2.12 Pian showing use of geometry San Giovanni Battista church, Switzerland - Mario Botta (1996) Botta’s design features a cylindrical based plan symbolizing the anxiety of man. As the church elevates and meets with a perfect circular roof, symbolizing the perfec- tion of the heavens, and cosmos. Architectural devices - the use of geometry, proportion, scale, and internal land- scapes creates a spiritual experience. Figure 2.13 The walls were specifically designed —_Figure 2.14 The landscape enhances the con- as a backdrop for the paintings. templative environment, Windhover Contempl Design e Center, Stanford University - Aidlin Darling A unification of art, landscape and architecture to both replenish and invigorate the spirit of the users. The use of rammed earth, massive walls of native rock, louvered skylights, water in conjunction with landscape, fountains within the main gallery and the courtyard provokes a deep feeling of serenity and quieten the outside chaos. "CSRTRTRBTGHTS SPGERE TR BOE ERAS mTContemplative Spaces and Elements 2.3 Attributes of a Spiritual Space Architecture is the first pioneer of the highway towards the adequate realisation of inner self. For this means it levels space for self realisation, inform his external environ- ment and buildsa fit place for the aggregation of those assembled having similar faith, as a defense against the threatening of tempest, against rain, and savage animals. Besides the variety of buildings and design approaches in the effort fo create a space where man can feel spirituality, there can be found some common design tools that help to create the soul string experience. 1. Threshold Figure 2.15 Dhamma Gir, Igatpuri_ Figure 2.16 Threshold - Bagan Pagoda, Myanmar The Threshold is the entry way into the sacred place which helps to separate the space from the greater surrounding space and invites you to step inside. In reli- gious buildings it marks the journey of the worshiper from the tedium of the everyday world into a more liminal state. It is crossing over from the outside into the hallowed grounds of the spiritual space. 2. Pathways Figure 2.17 Lotus Temple, New Delhi. Figure 2.18 Walking Path of Philosophy. Kyoto The Path invites exploration and discovery along the route. It meanders through spaces, fuels imagination and entices one to see where it may lead. This notion of journey is exemplified in the pathways leading to places of worship. Sidewalks from parking areas can guide worshipers as they move from one area to another before ariving at the worship center. These pathways move people from the outside world to the inner precincts where one may hope to find a sense of the sacred, ‘Contemplative Spacer in Bull EnViFORMen nnn LETTContemplative Spaces and Elements Figure 2.19 Aut of Living, Bangalore Figure 2.20 oj Mahal, Agra The main purpose of a plaza is to foster the gathering of large numbers of people. Such exterior gathering spaces are found near many spiritual spaces. Engaging with others can be a rewarding segment of public liturgy. The space in front of the main entry fo a worship space can foster this experience. These Plazas can be open green spaces which will nun help in creating a spiritual experience. 4. Natural Light Ta | Figure 2.21 Pantheon, Rome Figure 2.22 Natural Light in the space The daily cycles of day and night i.e.. light and darkness, signify the unending cos- mic struggle. Light signifies hope with the rising of the sun each day and enables us to experience the changing world. In spiritual place it is symbolic of the passage of time. Light in sacred place is typically provided from above and serves to provide orientation and contrast from the surrounding darkness. 5. The Door Joseph Campbell once remarked that anything is possible on the other side of the door to a spiritual space. There one also anticipates an encounter with the holy, where ilness, loneliness, hunger, and desperation are replaced by health, companionship, sustenance, and hope. Thus, the doors into a spiritual center bear a tremendous responsibilty. These sacred portals enhance the spiritual ex- Figure 2.23 Snwedagon perience, and should not be overlooked. Pogeda “CORRE RSET RST rr Figure 2.24 Hindu Templenplative Spaces an 6. Sacred Symbol - Lotus Flower This powerful image symbolizes harmony, spiritual illumination and unlimited po- tential. The lotus is a water lily which rises from the sludge of muddy waters. It re- inforces the concept of resurrection. Use as a reminder that “this, too, shall pass." It symbolizes forgiveness, gratitude and compassion and invites a balance be- tween humility and pride. The Lotus flower is regarded in many dif ferent cultures, especially in eastern re- ligions, as a symbol of purity, enlighten- ment, self-regeneration and rebirth. Figure 2.25 Sacred Symbol BHAGAVAD GITA Figure 2.26 Presence of Pond in Osho Center Figure 2.27 Presence of water in Pyramid Valley Water, a feature of the natural world that has been a centerpiece of spiritual sym- olism and religious ritual in human communities for thousands of years. With re- markable regularity across human cultures, water has been used to communicate the sacred valve of life: the spiritual dimension of purification, protection, and heal: ing; and the profound meaning of suffering and redemption in human life. 8. Sacred Geometry Sacred geometry involves sacred univer- sal pattems used in the design of every- thing in our reality, most offen seen in sa cted architecture. Sacred geometry may be understood as a worldwide of pattern recognition, a complex system of religious symbols and structures involving space, time ond form. According to this view the basic pattems of existence are perceived as sacred. By connecting with these, a believer contemplates the Great Mysteries, ond the Great Design. Figure 2.28 Sacred Geometry "CSRTRTRGTGHTS SPEER BOE ERAS mmm TTTCHAPTER 3 Spiritual Qualities of Identified CasesSpirituol Qualities of Identiied Cases 3.1 BioGeometry - Impact of geometry on users’ brain Biogeometry is the science that studies the effect of geometric shapes and forms on human bioenergy, and then it is possible to mitigate negative energies and en- hance their positive qualities. As the space quality is affected by air quality and ven- filation, it also is affected by its geometric form and construction materials. Biogeometry aims to achieve a balance between architectural space and energy quality produced inside it. This balance is capable of promoting the quality of ar- chitectural spaces. One of the objectives of this science is to identify a geometric design language that interacts with the energy of forms to provide spaces with the balance required for their users’ comfort. Certain experiments were conducted in spiritual spaces to study the effects of geo- metric forms on users’ consciousness status: Type 1 Maitreya Buddha Pyramid, Bengaluru In December 2011, a study investigating the effect of a building with a pyramid form on a number of meditators’ brain- waves was conducted. An effort was made to investigate the cerebral electrical activity of fifteen meditators that are recorded by electro- encephalograph (EEG). Type 2 H-Sultan Hassan mosque, Cairo With the same methodology, another study published in 2014 aimed to mea- sure the impact of staying inside a his- toric building space with a vault ceiling shape on the users’ consciousness status, by recording the brain electrical signals (EEG) of a number of volunteers inside and outside the building Figure 3.2 Et Sultan Hassan mosque, Cairo Other experiments were carried out using CST Microwave Studio to identify the reso- nance frequency occurred inside different geometric forms with different construc- fion materials, and then distinguish the related user's brainwaves which influence his/her consciousness status. This may assist architects and designers in identifying appropriate geometric forms to suit the required uses and functions that need par- ficular consciousness statuses. The results of these experiments show different influences based on geometric forms and construction materials. ‘Contemplative Spacer in Bull EnViFonmend nnn LEE TETSpiritual Qualities of Identified Cases jeometric shape/material Brainwave Wave type | Consciousness status Concrete Delta Stress reduction Steel Delta Brain reduction Wood Delta Brain reduction Glass Delta Relaxation and comfort sleep Concrete Beta Attention, focus and activity Steel Beta Attention, focus and activity Wood Alpha Relaxation and comfort Glass Alpha Focus and receive information Concrete Alpha Learn depending on memorize Steel Delta Brain reduction Wood Alpha Focus and receive information Glass Alpha Relaxation and comfort Concrete Alpha Learn depending on memorize Steel Theta Showman waves—activity and balance] Wood ‘Theta Meditation and inner peace Glass Theta Creativity Concrete Delta Brain reduction Steel Theta Showman waves—activity and balaned Wood Theta ‘Meditation and inner peace Glass Beta Attention, focus and activity Concrete Theta Stress reduction Steel Theta Creativity Wood Alpha Relaxation and comfort Glass Theta Creativity Table 3.1 Experiment results - Users’ consciousness status for the investigated geometric forms. According to the results of the experiments conducted, it is evident that there are different effects related to the geometric forms and construction materials of the architectural spaces on the users’ consciousness status.3.3 Case Studies : Form and Geometry ol 02 03 04 Matrimandir, Auroville Lotus Temple, New Delhi Pyramid Valley International, Bangalore Global Vipassana Pagoda, MumbaiSpiritual Que ties of Identified Cases 3.2.1 Matrimandir, Auroville Location: Auroville, Tamil Nadu Year: Started - February 1971 Completed - February 2008 Architect: The Mother (Vision) Roger Anger (French Architect) Figure 3.3 Master Plan of Aurovile (The galaxy concept of the city) Why Matrimandir? At the very centre of Auroville one finds the ‘sou! of the city’, the Matrimandir, situ- ated in a large open area called ‘Park of unity’, from where the future township will radiate outwards. Itis a world renowned spiritual space for meditation. It is known for its iconic form and structure attracting tourists from alll around the world. Propagating the ideas of Sri Aurobindo's teaching, about the concept of ‘Universal Mother’, it has many elements that make this place a perfect example of spirituality in architecture. Figure 3.4 Mother's symbol - paying homage 10 @ lotus in full bloom. The pian form of Matti- ‘mandi is inspired by this symbol. Figure 3.5 The Golden Sphere Inner Chamber The spacious Inner Chamber in the upper hemisphere of the Matrimandir is com- pletely white, with white marble walls and deep, white carpeting. in the centre sits a pure crystal-giass globe which suffuses a ray of electronically guided sunlight that falls on it through an opening at the apex of the sphere. This luminescent globe ra- diates natural lighting in the inner Chamber.Spirituol Qualities of Identiied Cases The twelve pillars in the chamber in are made of steel. Surrounding the Mother's symbol, they stand erect and abruptly end in the middle of the chamber with their open ends pointing towards the ceiling, indicating the continuity of their lengths. Thus the chamber with twelve pillars in Matrimandir represents ‘A Thousand-Pillared Home’ in Heaven. Figure 3.6 inner Chamber Figure 3.7 Prototype model showing Inner ‘Chamber The Four Pillars The four pillars that support the struc- ture of Matrimandir, and carry the Inner Chamber, have been set at the four main directions of the compass. They depict the four aspects or personal ities of the mother. + Maheshwari (South Pillar) + Mahakalli (North Pillar) + Mahalakshmi (East Pillar) + Mohasaraswati (West Pilar) Figure 3.8 Under construction image of pillars Sacred Geometry * The Golden Section and the proportions of the Great Pyramid are precisely incor- porated in its cross section (Figure 3.10). * It was also discovered that Sri Aurobindo's symbol fitted exactly into the Shali- gram, the form in which Matrimandir has been built (Figure 3.11). In other words, there are two triangles with the same proportions as the Great Pyramid inside. + The energy field inside the Great Pyramid is located at one-third of ils height. If we project this to the two triangles inside the Shaligram, we get a band of about 110 centimeters where the energy field will be concentrated. This band will be in the Inner Chamber, precisely where the people wil sit. (Figure 3.12.) CSRREITE PEE RRR nn ET]Spirituol Qualities of Identiied Cases : pe z = Figure 3.9 Golden section and Figure 3.10 Two triangle of Figure 3.11 Inner Chomber al proportions of great pyramid ‘same proportions one-third of its height bepeaton Beceptivity Progress nse 10 Generosity 1 equatty cardens 8 Conteousnest Coles Buight Ete Husity 2 Progress Youn i nermony U perfection Figure 3.12 The Pork of Unity - Plan Figure 3.13 seers = Vertical SectionSpirituol Qualities of Identiied Cases The Matrimandir is a great example having all the spiritual qualities such as natural light, scale and proportion of the hall, the pathway for the inner chamber, the colour and texture, the landscape, the presence of lotus flower and water body around. The plan form and vertical proportions ore according to the sacred geometry and the concept of the Universal Mother makes Matrimandir an ideal place for contemplation. Figure 3.14 Level | - Spiral Staircose Figure 3.15 Level 2 -Ramp Figure 3.16 Entrance of Meditation Cell Figure 3.17 Open AirTheatreSpiritual Que ties of Identified Cases 3.2.2 Lotus Temple, New Delhi Location: New Delhi, India Year: Started - 1976 Completed - 1986 Tig Architect: Ar. Fariboz Sahba Site Area: 24 acres Figure 3.18 Aerial View of Lotus Temple Why Lotus Temple? The Lotus Temple is world renowned and the easiest space that expiains the mean- ing of spirituality in its true sense. Its in line with the teachings of the Bahai faith be- lieving in the Oneness of God, the Oneness of Religions, and the Oneness of Man- kind. As such, people of all religions and races are welcome in the temple as it is a place to worship the creator of the universe and not one particular deity. There is no idol to be worshiped and people of any faith, case, creed are welcome inside. The form and the monumental siructure of this temple made it an ideal case to study. Figure 3.19 Front View Figure 3.20 Top View Concept and Philosophy In hindu architecture, despite external differences between the various temples, ‘one factor is common that they offer significant and sacred symbols common to all religions of India, symbols that have extended even to other counties and religions. One of these nature's symbols is the sacred flower of the Indians, ‘The Lotus. The lotus represents the manifestation of God and is also the symbol of purity and tendemess. Its significance is deeply rooted in the minds and hearts of Indians. There is a deep and universal reverence for the lotus which is regarded as a scared flower, being associated with worship throughout many centuries. ‘Contemplative Spacer in Bull EnViFonm end nnn ERESpirituol Qualities of Identiied Cases The Baha'i faith is said to embody in itself the niné major faiths of the world and in order to symbolise this, each component of the temple is repeated nine times. Conceptually inspired this flower symbolizes purity and holiness in the Hindu tradition is the reason that the architect developed it to this temple. This concept had to be converted to defined geometric shapes such as spheres, cylinders, toroids and cones, which translate into equations subsequently used as a basis for structural analysis and engineering drawings. a. house of worship > ancillary building wou a" main gate Figure 3.21 Master Plan The Temple Complex The temple complex consists of the main House of Worship, the ancillary block which houses the reception centre, the library and the administrative building and the re- strooms block. Set in the middle of a large sprawling lawn, the temple rises up on its large basement cum plinth to a lotus shaped superstructure which houses the assembly area. Figure 3.22 information Center Figure 3.23 Connecting bridge over pond "CSREES PEE RR nTSpirituol Qualities of Identiied Cases The Lotus Temple * The Lotus Temple gives the impression of a half-open lotus flower, afloat, surround- ed by ifs leaves. Each component of the temple is repeated nine times. + tis formed of 27 giant marble petals which envelope the interior space, respect- ing the circular alignment of Baha'i architecture. The interior has capacity for 2500 people. + It is accessed via nine bridges which cross nine ponds surrounding the temple and provide access to nine doors. + The doorways lead to a central area which reaches 40 meters in height, though shows no visible supports. + The temple is surrounded by gardens and ifs location in the centre of the ponds creates the impression of a giant lotus flower floating on the water. + The external covering of white marble ensures the building is visible from a dis- tance and shines with the rays of the sun, turing violet at sunset. a. pio es I pa ek tre © pool 4 bee «era [Eimer deme ‘eerie in glazing domes jer of dome Figure 3.24 Section Figure 3.25 Plan of Tempie Figure 3.26 Interior Dome & Ribs Geometry The lotus, as seen from outside, has three sets of leaves or petals, all of which are made out of thin concrete shells.Spirituol Qualities of Identiied Cases The outermost set of nine petals, called the ‘entrance leaves’, open outwards and form the nine entrances all around the outer annular hall. The next set of nine petals, called the ‘outer leaves’, point inwards. The en- trance and outer leaves together cover the outer hall. The third set of nine petals, called the ‘inner leaves’, appears to be partly Closed. Only the tips open out, somewhat like a partly opened bud. This portion, which rises above the rest, forms the main structure housing the central hall. Since the lotus is open at the top, a glass and steel roof at the level of the radi- al beams provides protection from rain and faciitates the entry of natural light into the auditorium. Below the entrance leaves and outer leaves, nine massive arches rise in a ring. A row of steps through each arch lead into the main hall The inner leaves enclose the interior dome in a canopy made of crisscrossing ribs and shells of intricate pattern. Figure 3.27 Seating in circular pattern Figure 3.28 Steal and glass roof skylightSpirituol Qualities of Identiied Cases 3.2.3 Pyramid Valley International, Bangalore Location: Kebbedoddi Village Kanakapura Taluk — _ (30ms from Bangalore) Year of completion: 2008 Architect: Ar. Nilesh Chopra, Bharathi Prem Site Area: 28 acres Figure 3.29 Master Pion Why Pyramid Valley? The Pyramid Valley is a massive space dedicated to meditation and spiritual prac- tices. The landscape design and architecture of the Pyramid Valley is inspired by sci- entific research on meditation practices and offers a peaceful space to meditate. Taking inspiration from the Pyramids of Giza, the main meditation hallis in the shape of a colossal pyramid known as the Maitreya-Buddha Pyramid. The Campus + The meditational pyramid is undoubt- edly the main attraction, the walk- way leading its entrance adored with rocks, water bodies, and verdant gardens. At the entrance of the pyr- amid, guests are greeted by a statue ae of the meditating Buddha. Figure 3.31 Pagode Cottages + The landscaped surroundings include coconut groves, gardens, and a bamboo bridge and are dotted with places to meditate. There are many other spots for meditation, named atter famous modern day spiritual masters like Rampa and Osho. "CSRTRTRGTOHTS SPGERE TH BOE ERAS mmm TETSpirituol Qualities of Identiied Cases + There are art galleries with Buddhist themes and there is a meditation brief- ing centre. It also includes a library with different resources for those who want to learn more about meditation. + There is also a 10,000-capacity am- phitheater, large dormitory, ait-con- ditioned deluxe rooms and pagoda style cottages for accommodation, 180-seater conference hall, semi- open dining room, and office rooms. Figure 3.32 Conference Hall Maitreya-Buddha Pyramid Maitreya Buddha Pyramid, with a capacity of 5000 people, is the World's largest pyramid built solely for practicing intensive meditation. It has a base area of 160ft by 160H and 102 tall. The exterior surface of the pyramid is covered by beautiful murals depicting various elements of nature. A flight of 21 steps leads to the core of the Pyramid, which is strategically lit up to filter the right amount of light inside. Its spiral and vibrant King's chamber, the most energetic spot on the Pyramid, stands 34ft tall and can accommodate 40 people for meditation at a time. The lower hall of the Pyramid has beautiful murals and artwork of Buddha and paint- ings influenced by Ajanto-Elora caves. The exterior surface of the pyramid is covered by beautiful murals depicting Various elements of nature: The north face represents air The south face represents fire The east face represents water The west face represents earth hay r=] e ©u Figure 3.33 View C= Figure 3.34 Drawings of the main pyramid buildingSpiritual Qualities of Identified Cases Inspired by Pyramid of Giza This pyramid is constructed on the principles of Pyramid of Giza: * oriented exactly in the North - South direction. + having the golden angle of inclination at 52° 51' on alll sides. + the king's Chamber located at the center to one third the height of the pyramid. Over 640 natural himalayan crystals are fitted inside the Pyramid to amplify the pyr- amid eneray and help in more profound meditational experiences. The journey from the entrance to the pyramid is surrounded by beautiful land- scape of rocks, lush green gardens, soothing water bodies and pathways which helps in transcending the mind towards calmness. The peaceful medita- five Buddha at the entrance of the Pyr- amid is a perfect setting to be one with self. Why Pyramid as the Structure? Pyramids are store houses of energy. Their geometric design collects, radiates and stores Cosmic Energy. Pyramid help to reduce the level of stress and tension in the physical body. Meditation done in- side a pyramid is thrice more powerful. Figure 3.35 King's ChamberSpirituol Qualities of Identiied Cases 3.2.4 Global Vipassana Pagoda, Mumbai Location: on Mumbai Year of completion: 2008 Architect: Ar. Prvez Dumasia Height: 89.93 Meters Diameter: 93.82 Meters Figure 3.36 View of the Pagoda Introduction The Global Vipassana Pagoda is a notable monument in Mumbai india which serves for peace and harmony. It was built out of gratitude to the Buddha, his teaching and the community of monks practicing his teaching. Its traditional Burmese design is an expression of gratitude towards the country of Myanmar for preserving the practice of Vipassana. The shape of the Pagoda is a copy of the Shwedagon Pagoda in Yan- gon, Myanmar. But the shwedagon Pagoda is made of solid masonry whereas the Global Vipassana Pagoda is hollow with an exceptional dome to welcome medita- tors. It was built combining the ancient Indian and modern technology to ensure it lasting for a thousand years. The inside of the Pagoda is hollow with a very large meditation Halll of 5700 msq. The construction work progressed without interruption supported selifessly by vioassana meditators and devotees from around the world. It is expected to exist as a beacon of peace and harmony for the next thousand years. The Global Vipassana Pagoda complex consists of the following structures: * Pagoda dome containing relics of the Buddha. The pillar-less structure of the massive Pagoda dome encompasses a meditation hall to seat around 8,000 Vipassana meditators - the largest such meditation hall in the world * Vipassana meditation centre Dham- ma Pattana: * Museum depicting the historical ife of the Buddha + Two smaller pagodas on the north ial gassaa raat eu Oyasgs tempts done and south side. Figure 3.37 Section of the PagodaSpirituol Qualities of Identiied Cases Library and study rooms Vipassana Research Institute office and facility for Pali study program Dhammalaya Guest House for Vipassana meditators The south pagoda contains 108 meditation cells for use by Vipassana students taking a meditation course at the adjoining meditation centre. Figure 3.39 interior View of Pagoda for Medita- fional Practice Figure 3.38 Entrance of PagodaSpirituol Qualities of Identiied Cases 3.4 Case Studies : Meditation Centers 01 Osho Dham, New Delhi 02 Dhamma Pushkar Vipassana Center, PushkarSpirituol Qualities of Identiied Cases 3.3.1 Oshodham, New Delhi Location Jhatikra Road, Najafgarh, Delhi Architect Ar. Snehanshu Mukherjee Area 9 acres Year 1996 Site Description 35 kms from New Delhi Figure 3.40 Google Map image showing loca- fion of Osho Dham Introduction Oshodham has blossomed on the outskirts of Delhi in Nazafgarh offering a clean, green, aesthetic and peaceful environment for those on the inner journey and have various weekend meditation courses. Oshodham is a place for meditation support- ed buy residential faciliies for long and short term stays. People come there fo prac- fice great meditation techniques explained by Osho. Figure 3.41 Meditation Hall Figure 3.42 Entrance of the Center Concept and Philosophy Swami Atul Anand, the major patron wanted to design a new habitat for living in the 2st century derived from Osho's discourse on daily living and spiritualism. it evolved and grew fashioning an environment conducive to the special requirements of the commune. The discussions with swami revolved around the ‘worldly and spiritual’ and resulted in the first sketch of a spiral path, the heart of the design. The spiral path winds inwards, to the meditation hall set amidst a grove of trees. It serves both a metaphoric and practical need. A journey in time, spiraling inwards to self discovery through meditation, its also device for economical and efficient organisation of the site. The choice of a spiral rather than a relatively small landscaped areas traversed over a length of time, creating an illusion of a much longer space. ‘Conternplalive Spacer in Bull EAViFORMGHE nnn ERTS)Spiritual Qualities of Identified Cases Figure 3.43 Conceptual Skefch of planning Figure 3.44 Landscape Site Zoning and Circulation swami ji (staff circulation [iliVisitor’s circulation Figure 3.45 Master Plan showing zoning and circulation Meditation Hall The spiral path culminates in the shelter of the meditation hall the prime focus of the design and the first structure of the commune constructed in 1994. Meditation hall, in its symbolic form and function, may be likened to a banyan tree with its large canopy. it houses the chief function of the commune to conduct daily meditation session through the different seasons. To reach it, one moves along the path through a specially planted grove of trees, akin to a forest hermitage. "CORTERRBINIVE SPAESE TA BOUT ERROR SE LETTSpirituol Qualities of Identiied Cases The expansive, seemingly simple structure of the Hall, of a doubly curved shell roof supported on four columns, was designed to the sides from any barrier with the sur- rounding setting of ponds and groves. Walking on the path, one sees through the unenclosed sides, through the empty floor space and beyond to the forest, without perceiving the hall as a solid building, to finally enter its encompassing protection. Figure 3.46 Organic Roof form Figure 3.47 Meditation Hall View Other Spaces 1. The heart of the design is the spiral path (main and first structure}, which winds inward towards the Meditation Hall set amidst of the trees. The choice of a spi- ral rather than a relatively small landscaped area is transvered over a length of time, creating an illusion of longer space. 2. The reception, Dining and residential buildings are incorporated at the start of the spiral path, within a landscape orea of 4 acres. 3. The Dorms and the dining hall with kitchen are at the foot from meditation hall ‘and aligned to the axis of the short cut that leads to the Hall directly for regular use. 4, The Dining Hall is conceived as a pavilion. 5. Swamiji's meeting room, a ferrocement roofed structure, which has a ventilated inner roof and is perfectly aligned climatically , which allows it to remain cool even during the hottest period of the year. 6. The campus incorporates 100% waste water recharge and recycle system which is passive and non chemical. 7. Most residential quarters and service facilities like kitchen are partially sunk into the ground and designed to be a part of the landscape forming backdrops and steps,pathways and reinterpreting the creation of built and open. Figure 3.48 View of the Kitchen and dining area, "CSRTRTRBTOHTS SPEER BO ERAS mn ETT Figure 3.49 Path towards Meditation HallSpiritual Que The Integration of outdoor spaces to built indoor spaces creates an intense con- nection of the visitors of this Meditation Centre. Features Osho Dham has blossomed with its clean, green , aesthetic and peaceful environ- ment for those who visit to find inner con- nection and peace within. In tune with nature, a beautiful space has been for group and individual meditation , yoga and other dance and physical activities. Meditation Centre is placed where there is no disturbance of the chaos of day to day life, set deep within a wondrous gar- den. The path to the hall is spiral, which cre- ates an illusion of a much longer walk through a large forest , without seeing the destination fill ones come really close. Figure 3.50 Views of Other SpacesSpiritual Qualities of Identified Cases 3.3.2 Dhamma Pushkar Vipassana Center Location: Village Rewat (Kadel) near Pushkar in District Ajmer, Rajasthan. Site Area: 12 acres Year: Figure 3.51 Location Map 2009 Introduction Dhamma Pushkar, meaning ‘Lotus of Dhamma’, is situated at Village Rewat (Kadel) near Pushkar in District Aimer, Rajasthan. Residential meditation courses are held here throughout the year. The Centre is surrounded by the age old Aravalli hills on one side while the sacred lake of Pushkar and sprawling sand dunes stretch on the other. The surroundings are very calm and serene. a Figure 3. 52 Pagoda for Meditation Figure 3. 53 Entrance of the center Site Zoning The overall planning of the center was done in two zones : Female and Male Zones. Teacher's residences were spread out around the Dhamma Halls. All the com- mon areas were planned in the center. legend [Pagoda Cells & Dhamma Halls Male Accommodation [HM Femate Accommodation Teacher's Residences Dining Hal [BE Administration Block HB Senices Figure 3. 54 Site ZoningSpirituol Qualities of Identiied Cases Site Circulation The entrance of the center for all the us- ers were common at some extent. The planning according to male and fe- male zones was itself segregating the cir- culation for male and female meditators. All the common spoces like Dining hall, Dhamma Halls and Pagoda Cells have separate circulation for both the medi- tators. legend Female Circulation Male Circulation ‘Common Entry Figure 3. 55 Site Circulation for Male and Female Meaitators Cell for Guru Ji Figure 3. 56 Conceptual section of the pagoda complex showing the arrangement of cells and the vents for ventilation in meditation cells —== - Figure 3. 57 Entrance of Pagoda complex Figure 3. 58 Pathway towards Pagoda Complex There was provisions of various resource saving systems: * Solar Heater * Solar Panels + Rain Water Harvesting System "CORTERABIGNIVE SBAEEE TA BUT EATERS LETSCHAPTER The Interpretations vTCave oay tots Temple, Oat ‘Care ody V- Gaba CazeSoay Frama ve ‘oman Pages. fay, bangalore ‘nats "Yeausna hagas mares [aso one | (02 FORM AND GEOMETRY Steam feiss teow Prone aan rte Saas pacearearaa ls (Sor Late Tame Seay Mahimandi AUEOVILE Ca 07 ous Temple, Det Tare Say = Gabal Caza say Myra Volley. tangas |__ Vipassana Pagoda. ‘nats ie sxcae0 GEOMETRY (os NaTWRAT TIGHT it Va free a nacht eh at ee | (ok MATERATAND COLOU [re son cesar ein al leMatimand Cave Woy ‘Cave Sody Case sea = Fy ute | towstemple, Dewy |" Vatey, bangalore Tare Say W~ labo Vipawana Pagoda ‘Anais inerence Be GV, [ie nh Fogodo es up anal hee com ne orcef amore moat cevara| [pth wr cor akan fom owe Pefe e's arg [nersnsce ve a ghey|soaate menue Case Seay Case Susy — Dhamma Pushkar Pusha (sho Dham Det aera eocees [OL TARESHOND ms ni ae tip cons ws reo wh Ferman 96 te cate wos ed Teoh a cas ah ote we ot SECIS enact TTeivenaa nossa omclcoy oorcah (2. PATHWAY ‘Sn geass wok poh on ood ‘rage ne ues csp erperencs (oh ATA/CENTRAL PACE